" Much Ado About Nothing " by William Shakespeare

Performed by Your Chance Productions.

Derby Theatre (Studio)

"Much Ado About Nothing" begins in Messina, where Leonata lives with her daughter, Hero, and her cousin and companion, the Lady Beatrice. Leonata receives word that his friend, the Duke Don Pedro has returned from war and plans to visit with some of his fellow soldiers. Among the party is Claudio, who quickly falls in love with Hero. Benedick, in this production Benedicta, a bachelor who has sworn off love and marriage, also comes, and he enjoys speaking her mind in witty argument with Beatrice.

Leonata holds a masked ball to celebrate the end of the war. While at the ball, the engagement of Claudio and Hero is arranged. Friends seek a way to spoil the general happiness and they plot, with Borachio to deceive Claudio into believing Hero has cheated on him.

That night, Hero's maid, Margaret, talks with Borachio. Claudio and the Duke watch secretly from a distance and think that the girl is Hero. Meanwhile, Hero, Claudius and Don Pedro decide Benedicta and Beatrice are ideal partners, despite (or because of) their bickering. They make a plot to allow Benedicta to overhear them discussing Beatrice's love for him and vice versa. After a series of overheard conversations, Benedicta and Beatrice realise they do indeed love one another.

At Hero's wedding, Claudio is still deceived into thinking Hero cheated on him. He denounces her and leaves her apparently dead from shock. With the help of the priest, Leonata, Beatrice, and Benedicta decide to pretend that Hero is actually dead until her name can be cleared of the slander. Later, the watchmen—managed by the bumbling village constable Dogberry–overhear Borachio brag about the trick that had been played on Claudio and Don Pedro. Borachio is arrested.

Dogberry's incriminating information is, after some difficulty, given to Leonata and Don Pedro. As penance for causing Hero's death, Claudio agrees to accept Leonato's "niece" in her place. The "niece" turns out to be Hero (conveniently). The play comes to a joyful conclusion as the lovers are reunited, and Benedicta and Beatrice announce that they will share the wedding day and the play ends with a merry dance.

Sophie Marlowe plays Beni (Benedicta), normally a male role but the great thing with Shakespeare is that you can mix up the character genders and have a lot of fun with them. There's a lot of sass with Sophie, well played out as Benedicta.

Kate Lewis, who I last saw in Your Chance's production of "the Tempest", plays Beatrice and is just a good a match for Benedicta as any theatrical pairing.

Olivia Paige plays Hero, and for a smaller actor, she certainly made sure that the audience noticed her. A new actor to thine eyes but one that made an impact on me as she delivered the Shakespearian language as if it were her native tongue. She is so at ease with this style of theatre, and plays the part with several layers of emotion.

Laurence James-Davis plays Claudio, and another new name. Laurence is an actor to watch out for as he also delivers the lines with great ease, he emotes, and he can bust some non-Shakespearian moves as well. I hope that we see more of Laurence in other productions as he is a natural performer, dancer and actor, and I really enjoyed his modern portrayal of Claudio.

Charles Andrews makes his Your Chance debut as Don Pedro, and to start with I hoped that he would project his voice more, and then half way through he did and you could see him melting into the character and the role, and his voice level increased, and I really started to enjoy his role.

Samantha Badman plays Leonata. I adore watching Sam act; I've seen her in several Shakespeare roles as well as other new and classic parts, and she can turn her acting abilities to any role chameleonically. Smooth and easy with her delivery, and she "gets" Shakespeare which comes with experience of the Bard's work.

Sheila Kay Sly also makes her debut with Your Chance as Ursula, and again, for a debut performance, there seemed to be no nerves for her and that made for a smooth performance also. Doubling up as Sexton also gave a chance to show even more of her comic side.

Bertie Black plays Borachio. Bertie is Bertie and he always brings that common touch to all of his roles; and that's not a negative comment because he can bring the character down to a level that everyone understands. Even with Shakespeare's script, he adds an element of Bertie to the character, and anyone who knows Bertie will know that this is a lovely human thing to be able to inject into a character role. Bertie is a physical actor and this is also demonstrated with his comic tumbling while trying to outdo the two watchmen who are trying to arrest him.

Sarah Dillon, another newbie to the Your Chance stable plays Princess Joanna and Margaret the maid. I am really loving all of these new faces in the Your Chance team because they are all so good, and let's face it Shakespeare is not the sort of play that you'd possible choose to debut in, but Sarah, as well as the other newbies, really impressed me.

Detective Dogberry is played by Jane Russell and P.C Verges of the Messina Police Department, is played by Diana Frempong. Both characters need to be played by someone who can deliver comedy, and excellent visual comedy, and Jane and Diana, certainly achieve that, with Diana playing the "lapdog" role to Jane's more authoritarian role. Both working so well together; I bet they had fun in rehearsals!

John Wilkinson and Adrees Hussain take on multiple roles within the production including members of the watch, the upstanding citizens who are responsible for keeping law and order on the streets of Messina. Another wonderful comedy pairing. John doubling up as the Friar seemed to get lost backstage at one point, but was just about covered up by Samantha and Sheila who ad-libbed while he was located behind the curtains.

The reason why Shakespeare is so very popular still hundreds of years after these plays were written is because they can be presented in any way, and this very modern take is wonderfully entertaining and fresh. There were scenes with mobile phones, laptops, radios and a stag/hen night that could have been lifted straight from the musical "Mamma Mia". Plus we heard Madeline Walker's Post Modern Jukebox version of Britney Spears' "Toxic". Britney Vs The Bard.

Now, talking about the stag/hen nights, this is where I started to get a twitch in my eye, and ear. It went on longer than I'd have wanted. The two parties were separated by the lighting - more about that later - and we had the stags doing high energy/techno dances to the likes of the Vengaboys, Steps, Scooter and The Cartoons while the hens, on the other side of the performance area dancing mainly to Abba - see the Mamma Mia connection. There was about five minutes or so switching form one party to the next to show all involved getting tipsier, but the music editing was awful. The tracks sounded like they were jumping all over the place with pauses between the two parties, mainly gapped for the light to fade on one side and come up on the other side. Backwards and forwards with seconds of darkness and the songs skipping all over the place.

Okay, now my other eye twitching moment, and I can't lay the blame for this at Your Chance's door, I don't think. There was an annoying issue with the lights which kept coming on over the audience and going off or they simply blacked out the whole room; I was looking in my pockets - when the lights were on - to find a fifty pence piece to load into the meter!

Once the lights went off, and came back on just in time for Benedicta to deliver the line "Oh the light.....", which I noticed caused a ripple of smiles across the actor's faces, and received a round of unplanned applause from the audience as well.

These things aside, this was a wonderfully funny and modern take on the classic Shakespeare comedy, with some delightful little extras added and Director Jessica McLean should be proud of the cast and the freshness of the production. The most chuckleworthy production of "Much Ado" I've seen - and I mean that in a very good way. Please though, just get a new music editor and lighting generator/operative as it could have ended up a comedy of errors!

"Much Ado About Nothing" by Your Chance Productions is at the Studio within Derby Theatre until Saturday 29 October.

 "Escaped Alone" by Caryl Churchill

Nottingham Lace Market Theatre.

Three gracefully aging English women recline comfortably in folding chairs, chatting with the relaxed air of old friends. A fourth woman, Mrs. Jarrett, walks past the open garden gate and is invited in and the chat resumes. The talk gets gradually darker throughout the play, mainly thanks to Mrs Jarrett.

Sally, has a paralyzing fear of cats that keeps her up at night, checking and rechecking the locks to make sure one hasn’t slipped into the house. Vi killed her husband with a kitchen knife - in self-defence? Her memory is fuzzy on that point .  Lena suffers from such crippling fear of the outside world that a single thought leaves her glued in a seated position for hours at a time. She longs to visit Japan but can’t seem to make it to the local grocery shop. Every now and then Mrs Jarrett takes centre stage to detail not one but seemingly many, conflicting, apocalyptic worlds (Of the past? The future? In her own imagination?).

There are very few plays that have been written completely for a totally female cast, and even fewer for a cast of over seventy-year-olds; something that is stipulated by Churchill, giving a voice to, and showcasing the talents of the older woman. The cast age span is from seventy to eighty three.

And that is what is so joyous about this production. Many plays will employ an older actor for a background character role but it is genuinely lovely to see these four mature actors performing with such wonderful timing - and I say that because many of the lines run directly into another character's line, like a piece of recording tape that has been spliced and then rejoined. That alone keeps the script quirky and makes you pay attention to the script and the actors.

Mrs Jarrett, played by Ruth Hardiman, who shocked me from the off with a very naughty word, one that I did not expect from such a ladylike person, but that only added to the darkness of Mrs Jarrett's apocalyptic monologues. 

Vi is played by Terri Freeman, who last performed in "Cat On A Hot Tin Roof" at the Lace Market, around thirty-five years ago. Why has she waited so long for her comeback as she is a wonderful character actor, as are all four ladies.

Mandy Hodgson plays Sally, who we last saw in "Ghosts" upstairs at the Lace Market Theatre.

Mavis Moore plays Lena, and this is her debut performance at the Lace Market Theatre.

I really hope that all four actors become more regular performers at The Lace Market because it's be a shame to waste such talent, and they bring something very special to the Nottingham stages.

Elder characters have something different to say, and that is why playwrights like Caryl Churchill and Alan Bennett still have their work performed so successfully today; and we also get to see actors like Ruth, Terri, Amanda and Mavis.

Performed in the round in the studio, this is adrenaline fuelled theatre and with the lengthy script to boot, it's enough to cause nerves for a seasoned actor, never mind with three out of the four actors being new to the studio area.

Directed by Lesley Brown, this being Lesley's directorial debut, also designed the set with David Babington. There is a certain sereneness about this set with the flowers, tennis court precision of grass length, complete with markings. And that also is quite apt as there is a lot of volleying of lines from one end of the upstairs studio space to the other side.

Lighting Design is by Philip Hogarth and there is a feel of summer sun dipping down to an autumnal shade by the end of the play.

Sound Design is by Lazzie Brown and that lovely soundscape of birds singing that makes you feel so relaxed.

"Escaped Alone" is in the Studio upstairs at The Lace Market Theatre until Saturday 29 October. It's only an hour long and there is no interval.

A performance at The Queen's Walk Community Centre in The Meadows is also being performed on Friday 4 November and tickets for that performance can be bought at the Community Centre itself.

 "The Hunchback Of Notre Dame" by Nottingham Operatic Society

Nottingham Theatre Royal.

What makes a monster and what makes a man? This is the central theme of "The Hunchback of Notre Dame", a sweeping, grand-scale musical from Disney. Based on the 1996 Disney film and Victor Hugo’s 1831 novel, "The Hunchback of Notre Dame" tells the story of Quasimodo, the hunchbacked bell-ringer of Notre Dame, and his desire to one day be a part of the outside world. 

When he summons the courage to attend the Feast of Fools, he meets Esmeralda, a compassionate gypsy who protects him from an angry mob. But at the same time, Quasimodo’s master, the archdeacon Dom Claude Frollo, and the new captain of the guard, Phoebus de Martin, fall in love with the beautiful gypsy girl. Adding to Quasimodo’s struggle is his punishment and derision from Frollo, following years of psychological abuse, and the danger posed by the gypsies, who are willing to kill any outsiders who venture into their secret hideout. But before Paris is burned to the ground, will Quasimodo be able to save Esmeralda from Frollo’s lust and anger? Will she return Quasimodo’s affection? Who is the true monster of Notre Dame?

It's my first viewing of this musical, and if I get to see another production, they had better be as good as this one. I overheard someone behind me exclaim that they could not believe that these were amateurs. I personally could believe that they were amateurs for the simple reason that "amateur" means "for the love of" and there is an awful lot of love, passion and emotion on that stage. I do, however understand what they meant because the quality of this production could be misconstrued for a West End Show.

Zak Charlesworth plays Quasimodo. Every time I see Zak on stage, he just gets better and better. He not only sings with such emotion, he is able to act with the same level of emotion. His voice gave me goosebumps on several occasions this afternoon. He takes his performance to another level altogether here and it's a mystery as to why he has not been headhunted by someone like Cameron Mackintosh because his acting and vocal performances are of West End standard. He has the ability to shroud himself in the character and live the life of the outcasted and belittled Quasimodo for a few hours on stage, and he makes you feel for his character.

Dom Claude Frollo is played by Simon Theobald, another actor who makes you believe in the character he plays. Simon's voice is also packed with power and emotion of a different kind to that of Quasimodo. This pairing is one made for musical theatre heaven. Around this time of year there are normally album releases from well-known pairing of tenors for the Christmas market; Boe and Ball, Jones and Watson - this year I'd love an album from Charlesworth and Theobold because their voices blend so wonderfully in this show.

Esmerelda, the gypsy girl who is the centre of the love triangle between Frollo and Phoebus, is played by Sarah Thompson. Sarah is another point of the pentagon of perfection in Hunchback. She is sassy but also has sentiment in her heart as she sticks up for Quasimodo, who in turn returns the favour, against Frollo's wishes. Another actor with an incredible voice, I could watch and listen to her all day. And she makes a wonderful Disney Princess.

Clopin Trouillefou is played by Chris Grantham. Clopin is the man who at first seems to be on the wrong side of the tracks, but then again that's looking at it from Frollo's view. In reality he is one of the good guys. A bit like a gypsy king who is forever looking out for his gypsy kingdom. Another wonderful piece of character acting, and he also has a powerful voice to match.

Captain Phoebus de Martin is played by Richard Groves, and here again, when we first meet this character, he comes across as a bit of a slimeball; he certainly gets off on the wrong foot with Esmerelda, but then that playa image is peeled back and we see that he is also one of the good guys, but working under the guidance of if Frollo. But does he follow his heart or his head. Whichever way he chooses, he could lose the other. This group have been blessed with so many powerful singers and Richard is yet another one of them.

The cast size for the show is massive with smaller character roles, narrators, the ensemble and two groups of choir members, altogether totalling about fifty in the complete cast. Unfortunately, I don't have room to mention every single one of them, but what a cast!

Directed by Andrew Miller, who is new, I believe to Nottingham Operatic, but if he can produce this quality, he can come back every year. Andrew is also responsible for the beautiful choreography in this show.

Musical Director is Morven Harrison, and if I didn't know any better, I'd have thought that we were listening to the recorded soundtrack, the quality of sound from that nineteen-piece orchestra was simply gorgeous. The opening piece "Olim" and "The Bells Of Notre Dame" are stunning and send chills through your body.

The Sound Design by Michael Donoghue had a few little hiccups throughout, but I am sure that the evening performance and every performance henceforth will be completely faultless. Apart from the hiccups, another classy sound design that helped to provide those chills.

Lighting Design by Tom Mowatt was as always perfect. The lighting really gives atmosphere to the story. Beautifully lit.

The gorgeous set is provided by Scenic Projects, and as soon as you get into the Theatre Royal auditorium, it hits you straight between the eyes. This is one of the best sets that I've seen on this stage for a very long while, and that stained glass window id awesome.

The music by Alan Menken and lyricist Stephen Schwartz is sublime with numbers like "Out There", "Top Of The World", "Made Of Stone", "Heaven's Light" and "God Help The Outcasts" are worth coming to see this show alone.

The costumes for this period piece are just so good, you need to see them to get the real effect form them. Linda Croston being the wardrobe mistress.

I've been looking forward to this show for a while now and it certainly exceeded all of what I'd expected from it with the passion and emotion within the story and the performances from everyone on stage. The standing ovation for this group was richly deserved, and that's just the matinee!

"The Hunchback Of Notre Dame" will be at the Nottingham Theatre Royal until Saturday 29 October.